6.10.2013

6.03.2013

“Contemporary
realist art contains a great deal of illusion and deceptiveness. That is to
say, there is an intriguing and complex relationship between ‘the real’ and ‘the
truth’ and between ‘the subjective’ and ‘the objective’.”

The depiction of
illusion is not my goal. My intention is to achieve a quality of contemplation
based on my own interpretation of reality that may transcend the confinement of
traditional realist formations. In other words, the goal is to transcend the mode
of description. In the matter of form, a dual character is evident among my
paintings, in which the tangible realness of the objects is adopted and the
quality of the abstract is manifested. As I argue in initial paragraphs, the
duality is also the paradox. As is seen in my works, compositional artifice and
selective concentration are utilized as expressive devices, but the edges of
the pictures could imply both visual and spatial extension because all
ingredients appear to be in a state of the materialized. The form of appearance
is already presented as part of the condition of appearance’s possibility. In
brief, the surface of a painting is commensurate with the subject, and vice
versa. L’autre Côté de L’océan, Northerly, Perplexité or Crépuscule
is typical example.

My practices do not
aim to reveal the truth about the medium itself which is its flatness or create
the awareness of the self-contradictory, however, these two points may
underline the potentialities of producing a new vision to see different
realities which mean to depart from the conventional system of realist art then
further break its frame. The construction of material tangibility (such as
masking tapes, dripping paints, spontaneous scratches and rough linen) may
become independent and disentangled from its prescriptive situation. Furthermore,
the character of rendering raw materials can evoke the viewer’s awareness of
the artist. The visibility of artistic mediation is an integral element of my
creative process and a key to deciphering my works – the nature of human
intervention. My inner images are not literally reproduced through such ‘realistic
depiction’ but adumbrated in metamorphoses of visual combinations. Minuit, Fleuve, ÉquinoxeAdumbration, and Ventus are well demonstrated. They express themselves without
recognizable meanings but they do lay claim to some significance that reside in
their raw identities as physical materials.

In exploring
something lyrical with ‘thingly’ character, my paintings are trying to draw the
viewer into a space of the unexpected, and thus the viewer becomes involved in
the dialogue that demands a viewer’s ability to see something with her/his mind
rather than with her/his eyes.

This statement is written for the SOLO PROJECT in Basel/Switzerland, from